The ad copy reads, “At what point does the thing we want, become the thing we need?”
Sounding almost stalker-ish, that’s the outlook for 17 dancers who really, really “need this job” in the landmark musical “A Chorus Line.”
They’ll be back on the line starting Feb. 16 and running through Feb. 28 at the Ordway in St. Paul.
What the corps of dancers are stalking is nothing less than their careers, specifically a chance to come to Broadway in a genius-and-driven director’s new show. The problem? There are only a finite number of slots.
Actually, as it turns out, there are even more problems than that. Chief amongst them is the director’s need to know why his dancers want to perform. The answers, which come in a series of monologues, solos, and production numbers were etched out of real-life tape recorded sessions by “A Chorus Line”‘s director and choreographer, Michael Bennett.
The show posits universal questions, (such as, “Who am I, anyway? Am I my resume?”) aided by a top-notch score courtesy of Edward Kleban and Marvin Hamlisch. The long-running, awards-heavy production features the well-known titles, “What I Did For Love,” “At the Ballet,” and “One,” and many others.
Ticket-holders on Feb. 17 get a free added bonus: A 6:30 p.m. symposium, of sorts, in the Marzitelli Foyer with Dieter Biebrauer, and others from the Twin Cities theater scene, sharing stories and songs about the life of an actor in the Twin Cities.
“I put myself out there because I can’t keep it in,” or so the commercial for the production goes. “I want this; I need this; I got this.”
It’s a peculiarly American sentiment, in a peculiarly American art form. But, when it’s “A Chorus Line” coming through town? We got this.